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£. 
paintings and 
ves of the 


18 pictures were sold under the 
of the American Art Associ- 
Thomas E. Kirby auctioneer, 


for $5,100. ie 
‘Virgin and Child 


‘The fine» ‘' Portrait of Miss ksther 
“Raine,” by John Hoffner, which started 
at $2,500. went to Rudert, agent, for 

800. A vivid portrait of the Marquis 


French, by Louis Leopold Boilly, started 
vat $2,500, 
‘agent, for $3,900. The Ruisdael was 
-originall 
Crewe, London. The eighty-one pict- 
ures brought $124,775. 


and St. Cather- | 
Ben-. 


Se a 


Nos. 


CMON OUP ADH 


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Prices 


110. 
100. 
180, 
370. 
500. 
500. 
975. 
550. 
BO. 
675. 
425. 
500. 
375. 
500. 
725.6 
650. 
1700. 
475. 
2000. 
800. 
1700. . 
175. 
375. 
500. 
1500. 
1500. 
1900. 


5000. 


425. 
925. 
- 925. 
1800. 
1450. 
3400. 
1100. 
525. 
2000. 
2600. 
600. 
600. 


1750. 


Ancient Paintin 


FP. Kleinberger Galleries 
EE et tories 


eh 


Sale at the American Art Association 


Buyers 


ReM. Hoan 

A. Jacobs 

Karl Preund 
Mrs.D.B. Delavan 
T.Ellison 

R. Ederheimer 

A. Kingsley Porter 
Ids @) "Reilly 

W.W. ics Bratt Agt. 


Charles H. Johes 
E.T. Hess 

Ehrich Galleries 
E.T. Hess 

W.W. Seaman, Agt. 
C.A. Platt 

Paul J. Moffat 
Chas.H. Jones 


- Re Ederheimer 


Ce Gmelielmetti 
Ehrich Galleries 
E.T. Hess 
Re Ederheimer 
Paul J. Moffat 
W.E. Benjamin 
L. Bourgeois 
A. Kingsley Porter 
R. Ederheimer 
Karl Freund 
tt " 
Otto Bernet, Agt. 
Ehrich Galleries 
WW. Seaman, Agt. 
Re. Ederheimer 
Satinover Galleries 
Otto Bernet, Act. 
Parish Watson 
R. Ederheimer 
Li 


w 


Je Bourgeois 


January 25, 1918, 


9) 


~I 


Buyers : 


R. Ederheimer 

Otto Bernet, Act. 
Parish Watson 

C.A. Platt , 

Otto Bernet, Agt 
C.0. Kienbusch 
Bourgeois weer pola 
Ehrich 
Chas.H, Jones 

w " t 
Edw. Staab : 
WeW. Seaman, Agt. 
Otto Bernet, * 
pags Benjamin 


gee Nite ckes 
R. Ederheimer ' 
Paul Moffat 
Otto Bernet, Agt. 

wt iid a 


R. Ederheimer 


We Samuels I 
Otto Bernet, Agt. 
? t ft 


Karl Freund 
veye emeets 

ef 
Le Rudert, Agte 
John Levy 
Otto Bernet, " 
W. Sanmels 
Satinover Galleries 
A. Rudert,Act. 
C.J. Charles 
Otto Bernet, Agt. 
Scott & Fowles 
EST. Hess 
Satinover Galleries 
JeS. Miller 
T. Ellison : 
Satinover Galleries! 


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ON FREE PUBLIC VIEW 
9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM FRIDAY, JANUARY 18th, 1918 
UNTIL THE DATE OF SALE, INCLUSIVE 


HIGHLY IMPORTANT COLLECTION 


OF 
ANCIENT PAINTINGS 
BELONGING TO THE 


F. KLEINBERGER GALLERIES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON WEDNESDAY EVENING, JANUARY 23rd, 1918 


IN THE GRAND BALLROOM OF 
THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 


BEGINNING AT 8.15 O’CLOCK 


°c 
1” re * 7? 
Re eye? ees 
63254" Pw \ 


3 


ILLUSTRATED CATALOGUE 


z OF 
A HIGHLY IMPORTANT COLLECTION OF 


ANCIENT PAINTINGS 


OF THE ITALIAN, DUTCH, SPANISH, FLEMISH AND FRENCH SCHOOLS 
INCLUDING AN IMPOSING GATHERING OF 
ITALIAN AND FLEMISH PRIMITIVES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE 


F. KLEINBERGER GALLERIES 


FOR THE PURPOSE OF ADJUSTING THE BUSINESS INTERESTS OF THEIR 
FORMER PARTNERSHIP AND THE PRESENT INCORPORATION 


IN THE GRAND BALLROOM OF 
THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET 


ON THE EVENING HEREIN STATED 


CATALOGUE BY MR. MAURICE W. BROCKWELL 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1918 


THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS _ 


ALL DETAILS OF ILLUSTRATION — 
TEXT AND TYPOGRAPHY 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such bid 
would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either de- 
cide the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the pur- 
chase money as may be required, and the names and addresses of 
the purchasers shall be given immediately on the sale of every lot, 
in default of which the lot so purchased shall be immediately put 
up again and re-sold. 

Payment of that part of the purchase money not made at 
the time of sale ‘shall be made within ten days thereafter, in de- 
fault of which the undersigned may either continue to hold the 
iots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or 
private sale, and without other than this notice, re-sell the lots 
for the benefit of such purchaser, and the deficiency (if any) aris- 
ing from such re-sale shall be a charge against such purchaser. 


4. Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 
9 A. M. and 1 P. M., and on other days—except holidays— 
between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and only 
on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, 
of any purchase during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business ~ 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. ‘The Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. 'Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution in 
caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 


AMERICAN ART ASSOCIATION, : 
American Art Galleries, 


Madison Square South. 


PREFATORY NOTE 


To catalogue and then classify eighty-two pictures by the 
Old Masters, possessed in one hand, is somewhat of an under- 
taking. And after completing such a task, one naturally con- 
siders them according to their importance by the country, school 
and period to which they belong. Exactly half of the works 
now offered at public auction belong to the various schools of 
painting in Italy. Beginning with the Florentines, we may note 
that the intensity of spiritual feeling seen in Nardo di Cione’s 
“Crucifixion” (No. 19) is characteristic of its era, and is more 
marked than in the “Coronation” (No. 17) by Jacopo di Cione 
which was for a generation in private possession in England. 
The rarity of Giovanni Bonsi’s works is calculated to draw at- 
tention to the “Madonna” (No. 63) now assigned to him. The 
whole setting of the “St. James and St. John” (No. 64) leads 
us to regard them as the wings of some dismembered altarpiece 
by Giovanni dal Ponte. Characteristic of their time also are 
the “Madonna” (No. 10) by Ambrogio di Baldese and a work 
(No. 72) by Paolo di Stefano, while the “Virgin and Child” 
(No. 7) by Neri di Bicci marks the temporary lull which heralds 
the coming Renaissance. It was acquired from a private col- 
lection in Florence. No uncertainty attaches to the “Virgin and 
Child, with Saints” (No. 18) by Mariotto di Nardo. The artistic 
personality, formerly known tentatively as “Alunno di Do- 
menico,” and now accepted under the name of Bartolommeo di 
Giovanni, gives us a “Saint” (No. 27) at the moment of the high 
Renaissance. Although the stern realities of primitive endeavor 
had passed away when Bronzino painted his “Young Lady” 
(No. 12), his decorative sense enabled him to portray in a win- 
ning manner the features of some near relative of Cosimo de’ 
Medici, first Grand Duke of Tuscany. 

The pious contemplation of Siena is evinced by the “Do- 
minican Legend” (No. 48) of Taddeo di Bartolo, and we en- 
counter something of the “Sanctuary swept and garnished” in 
the work of Sano di Pietro, to whom a “Madonna” (No. 8) is 
assigned. Foremost among the early workers in Central Italy 


comes Alegretto Nuzi, to whom are given the “Christ on the 
Cross” (No. 41) and two small “Martyrdom” predella panels 
(Nos. 50 and 50a). Even more characteristic is the ““Madonna” 
(No. 34) by Antoniazzo Romano, which is decorative in treat- 
ment and majestic in its charm. The Central schools of Italy 
were so influenced by the activities of great painters attracted or 
summoned to Rome circa 1500 that we naturally see, in the ‘‘Por- 
trait of a Roman Lady” (No. 82)' by Gianfrancesco Penni, the 
dominating influence of his master Raphael. 

When we pass to Northern Italy we encounter in Milan an 
echo of Leonardo and his famous sitter ‘‘Mona Lisa,’ whose 
personality of mysterious environment is called to mind by the 
“Bust of a Woman” (No. 36) which here passes under the name 
of Leonardo’s follower Giampetrino. From the Veneto comes 
a primitive altarpiece (No. 74) signed with the name of Simone 
de Cusighe, as well as a “St. Bernardino” (No. 78) by Dario 
di Giovanni. Certain Venetian elements may be detected also in 
Filippo Mazzuola’s *‘Madonna” (No. 20) while the era of high 
achievement had been reached in Venice when the “Young Man” 
(No. 33) was executed by the hand of Lorenzo Lotto. Brescia 
had by now begun to play its part in the artistic ideals of ter- © 
ritories allied with Venice, and of this a trace is afforded by 
Civerchio’s “Nativity” (No. 3). But much more sumptuous and 
imposing is the effect created by Leandro Bassano’s “Portrait 
of Agostino Barbarigo” (No. 77) who, in the sumptuous robes 
of his office as Doge of Venice, calls forth visions of the great 
republic and the art of the Bellinis and Titian. In a later age 
grandeur of conception and poetic visualization give way to the 
decorative schemes and gayer tones that are so often met with 
in the sketches of Giambattista Tiepolo, whose small canvas (No. 
38) must have been designed as the sketch for a large ceiling 
painting. 

Almost three centuries may have elapsed between the execu- 
tion of Simone da Bologna’s “Coronation of the Virgin” (No. 28) 
and Salvator Rosa’s “Diogenes, in Search of an Honest Man” 
(No. 75), the modernity of which indicates the closing moments 
of Italian Art. 

The outlook of the Netherlander is more realistic and ob- 


servant than that of the Italian, and the telling incident counts 
for more. Thus Patinir in his “St. Jerome” (No. 52) shows 
some claim to be regarded as the earliest of the landscape painters 
of the northern schools. The influence of the primitive Fleming 
still lingers on in the two wings (No. 4) of a dismembered altar- 
piece, while the accuracy of vision in Netherlandish portraiture 
is well attested by the “Portrait of Quentin Matsys” (No. 56) 
by the Master of the Death of Mary. Ambrosius Benson, or 
Bentsoen (No. 71), stands for a somewhat similar outlook, but 
Lucas de Heere (No. 62) and Pieter Brueghel the Younger 
(No. 21) prepare us for the Revival in the XVII Century under 
Rubens, whose finest achievements and pictorial qualities are 
seen in his sketches; among these may certainly be included a 
“Minerva and Thetis” (No. 46). Powerful as is the characteri- 
zation of Cornelis de Vos, as seen in a pair of portraits (No. 
25 and No. 26), the concluding phase of Netherlandish paint- 
ing was rapidly approaching when Sustermans passed under the 
influence of Italian painting in the time of “Ferdinand II de’ 
Medici” (No. 76). 

Again we retrace our steps, if we seek to survey the art 
of Germany. For the Master of St. Severin (No. 44) and the 
Master of Frankfort (No. 70) antedate Bartholomaus de Bruyn’s 
“Portrait” (No. 57) and Lucas Cranach’s “Salome” (No. 48). 

Something of the glamour and rigid conventionality of the 
Court of Philip IV is preserved to us in the “Portrait of the 
Infanta Margarita Maria” (No. 65) which we assign to Mazo, 
the pupil and son-in-law of Velazquez, and in the proud and 
imposing portrait (No. 80) by Carrefio. But we deal with al- 
most modern times, when we consider the fanciful costumes and 
freer outlook in Spanish life that may be seen in the “Dancers” 
(No. 2) of Goya’s contemporary, Eugenio Lucas. 

Among the earliest painters of Holland we must class Lucas 
van Leyden, whose “Adoration of the Shepherds” (No. 14) comes 
from an English Collection. And but little later Jan van Scorel 
paints for us a “Madonna” (No. 42) that has been the subject 
of special enquiry in the Italian magazine, Rassegna d’Arte. 
With the XVII Century, however, we naturally meet with a repre- 


sentative “Dutch Canal” (No. 45) bearing the Monogram of 
Jan van Goyen, and a “Landscape” (No. 60) by Jacob van 
Ruisdael, which possesses a long pedigree in addition to being © 
signed. Signed works by Hendrik de Meyer are rare, but his 
authenticated “River Scene at Dordrecht” (No. 24) is both 
signed and dated. The immediate circle of Rembrandt is brought 
vividly before us when we contemplate the “Lady, as Diana” 
(No. 69) which Ferdinand Bol painted as an early work and 
duly signed. ‘The style and early manner of Rembrandt are 
reflected in Gerard Dou’s “Christ among the Doctors” 
(No. 61), while the “Joseph telling his Dreams” (No. 79) by 
Jan Victoors, in spite of the signature and the date, was for- 
merly attributed to Rembrandt. Equally important in another 
phase of the art of Holland is the “Lady and Gentleman at Tea” 
(No. 59) which bears the monogram of Pieter de Hoogh and 
has a long pedigree. Brekelenkam’s “Tailor’s Shop” (No. 58), 
from the main elements of its composition and the choice of 
subject, testifies, to the reliability of the Monogram. On the 
other hand Molenaer in his “Interior” (No. 23) controls the 
disposition and the lighting of his figures along different lines, 
and ends by signing his name on the footstool on which the cat 
is lying. 

If only to complete the range of European Schools of paint- 
ing, and to observe how various is the choice of collectors, we 
may study, although only in isolated instances, the varying tra- 
ditions of French painting and then throw a glance at the methods 
employed by Portrait Painters in England at the end of the 
XVITIth Century. 

In conclusion we do not fail to observe that these paintings 
have in the course of time been assembled, by a dealer of vast 
experience and an acknowledged expert, from such distant and 
unrelated centres as Florence, Siena, Milan, Paris, Cologne, 
Strassburg, Frankfort, Vienna, Bruges, Moscow, England, Scot- 
land and the United States. The wide scope of such a varied 
collection as this could hardly be better indicated. 


Maurice W. BrockweEt.u. 
January 4, 1918. 


Shi. a Lae ee BS 


Catalogue 
No. 


34 
10 
11 
27 
77 

7 
28 
29 
63 
12 
JE 
19 

3 
74 
78 
36 
81 
64 
33 
18 
30 
31 
20 


INDEX OF PAINTINGS BY SCHOOLS 


ITALIAN SCHOOLS 


Antoniazzo Romano 
Baldese, Ambrogio di 
Baldese, Ambrogio di 
Bartolommeo di Giovanni 
Bassano, Leandro 
Bicci, Neri di 
Bologna, Simone da 
Bologna, Simone da 
Bonsi, G. da Firenze 
Bronzino, Angelo 
Cione, Jacopo di 
Cione, Nardo di 
Civerchio School 
Cusighe, Simone de 
Dario di Giovanni 
Giampetrino 

Giotto, School of 
Giovanni dal Ponte 
Lorenzo, Lotto 
Mariotto di Nardo 
Masaccio, School of 
Masaccio, School of 


Mazzuola, Filippo 


FLEMISH 


Benson, Ambrosius 

Bosch, Jerome 

Brueghel, Pieter 

Cleve, Joost van (Master 
of Death of Mary) 

Flemish Primitive 

Heere, Lucas de 

Koffermans, Marcellus 


Catalogue 
N 


6 Monaco, Lorenzo (att. to) 

41 Nuzi, Alegretto 

50 Nuzi, Alegretto 

50a Nuzi, Alegretto 

22 Palermo, School of 

72 Paolo di Stefano 

32 Penni, Gianfrancesco 

75 Rosa, Salvatore 

53 Salviati, Il 

8 Sano di Pietro 

9 Sano di Pietro 

7 Sicilian School, XVth Cen- 
tury 

Strozzi, Zanobi 

Taddeo di Bartolo 

Tiepolo, G. B. 


4 


38 Tiepolo, G. B. 
39 Tiepolo, Giovanni Dome- 
nico 
40 Tiepolo, Giovanni Dome- 
nico 
73 Zaganelli da Cotignola 


SCHOOL 


52 Patinir, Joachim D. 
15 Pourbus, Pieter, the 
Younger 
46 Rubens, P. P. 
76 Sustermans, Justus 
25 Vos, Cornelis de 
26 Vos, Cornelis de 


° )  * 


GERMAN SCHOOL 
Catalogue Catalogue 
No. No. 


49 Amberger, Christoph 1 Dietrich, Christian 
57 Bruyn, Bartholomaus de 70 Master of Francfort 
43 Cranach, Lucas, the Elder 44 Master of St. Severin 


DUTCH SCHOOL 


69 Bol, Ferdinand 24 Meyer, Hendrik de 
58 Brekelenkam, Q. 23 Molenaer, Jan Miense 
61 Dou, Gerard 60 Ruisdael, Jacob van 
45 Goyen, Jan van 42 Scorel, Jan van 

59 Hoogh, Pieter de 79 Victoors, Jan 


14 Lucas van Leyden 


SPANISH SCHOOL 


13 Burgos, Juan de (att. to) 2 Lucas, Eugenio 
80 Carrefio de Miranda 65 Mazo, Juan B. del 


FRENCH SCHOOL 


68 Belle, Alexis Simon 5 Clouet, Francois, School of 
66 Boilly, Louis Léopold 67 Tocqué, Louis 


ENGLISH SCHOOL 
55 Hoppner, John 54 Reynolds, Sir Joshua 


SALE WEDNESDAY EVENING. 
JANUARY 23, 1918 


IN THE GRAND BALLROOM OF 
THE PLAZA 


Firru AvENvE 58TH TO 59TH STREET 


BEGINNING PROMPTLY AT 8.15 O CLOCK 


CHRISTIAN WM. ERNST DIETRICH 


German: 1712—1774 


g $ PORTRAIT OF A BANKER 


(Canvas) 
Height, 1414, inches; width, 12%4 inches 
SMALL, three-quarter-length figure. He is seated in an arm- 
chair, and wears a dark red costume and a hat. Several bags of 
money and loose coins are on a table on the right; one of these 
he grasps with his left hand. From the table hangs down a pear] 
necklace. Light gray-brown background. 


f. ERNST DIETRICH 


I—CHRISTIAN WN) 


No. 


No. 2 
EUGENIO LUCAS 


SpanisH: Earty XI XtH Century 


— SPANISH DANCERS @.- 


(Canvas) 


Height, 11 inches; width, 8 inches 


A youne Spanish couple, dressed in the national costumes of 
about 1800, are dancing, with castanetas in their hands, on a 
stage. The background shows a house on a hill topped by a 
castle. A light blue curtain on the right. j 


No. 2—EUGENIO LUCAS 


6° ha ae 
a 


No. 8 


VINCENZO CIVERCHIO 

(ATTRIBUTED TO) > 

Travian: Earty XVItTH Cunvone 4 ‘a 

Darn A_ 

re THE NATIVE ‘on 
a ae (Panel, rounded at the back) 

Height, 21% inches; width, 13 inches 

BeneatuH an arch, and in front of a thatched pent-house, the 

Virgin on the right and St. Joseph on the left, kneel before the 

Infant. The ox and the ass are near by. Above is the An- 

nunciation to the shepherds, with four small angels, of whom three 

play on musical instruments. Above the arch, and on either side, 

are the Archangel Gabriel and the Vergine Annunciata seen 

against a plain wall. 


Examined by Prof. O. Sirén. 


No. 8—VINCE 


.O CIVERCHIO (Arr. 10) 


No. 4 


FLEMISH PRIMITIVE gee WINGS) 


Earty XVIrH Century 


THE NATIVITY rrr: 1). cl | 
AND THE VIRGIN AT PRAYER a 
3 7 js (Panel) a 
Each Wing, Height, 2114 inches; width, 7 inches '% 


The Dexter Wing. ‘The Virgin and an Angel kneel near the 
cradle in which Christ lies. St. Joseph stands behind, holding a 
lighted candle and protecting its flame from the wind. Farther 
back is a building in ruin, and beyond a landscape with a house. 


FN ere en SE Ey 


ey a a ey 


The Sinister Wing. The Virgin, at prayer before her fald-stool, 
kneels with folded hands. Above hovers the Archangel making 
the gesture with the right and holding in the left hand the scroll 
with the words of the Annunciation. In the sky is the Holy Dove 
within a golden circle. 


sr erection stp: tae roe" 


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ill nee lin natn neir hett Nhiasash ame cpcatettnsi a. 


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earings ie P| tS xian se “Scteue -4pnteryenienasidatne on ee . ~ x ile dene apa Fos oa 


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No. 4— 


No. 5 


FRANCOIS CLOUET 


_ (ATTRIBUTED TO) 


OSL 1516—1573 a: E Maton 


PORTRAIT OF A YOUNG LADY 
ExY®) a oe (Panel) 


Height, 201, inches; width, 15 inches 


Bust-LenNcrH portrait; three-quarters to the left. In low-cut 
striped white dress, white drapery and a rosette of multicolor | 
material at her breast; a thin black necklace. Long, dark hair | 
falling over her shoulders, and confined at the back within richly 
colored material. Plain background. 


4 


5—FRANCOIS CLOUET (Art. 10) 


S 


No. 6 
LORENZO MONACO 


(ATTRIBUTED TO) 
FrorENTINE: Active 1870—1425 


MADONNA AND CHILD, (2 5 Gis 


WITH SAINTS AND ANGELS 


Height, 2624 inches; width, 16 inches 
Tue Infant clambers round His Mother’s neck. In the left fore- 
ground stand St. George with the dragon at his feet, and St. 
James with the pilgrim’s staff. On the other side they are bal- 
anced by the figures of St. Anthony and a Camaldolese. Behind, 
on either side, are a seraph and a cherub. Tiled foreground. 


PR AP Me es A a i ng 


wate ‘it tn dele 


a ie) ein 


From the collection of Sig. Mazzoni, Siena. 


ible cuit, 


mek, 


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8 


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No. 6 


No. 7 
NERI DI BICCI 


Iranian: XVrH Century 


THE VIRGIN AND CHILD 
(Panel) | CL - 


sf 15> ——~—- Height, 29 inches; width, 16 inches (round top) 


Se er ta ee eee ae 


Tne Virgin, seen at three-quarter length, is holding saith i 
hands the Child, who stands on a brown cushion. The Virgin has_ 
a red robe and a blue mantle. The Child holds an apple in his 
hands. A brown curtain in the background, DEERE oo with a 
white and red pattern. 


ea > 


From the collection of Mason Perkins, Esq.; Florence. 


SF meen 


ee i By 


No. 7—NERI DI BICCI 


No. 8 
SANO DI PIETRO 


ST ae aa SreNEsE: 1406—1481 eo 0° 


THE MADONNA AND CHILD WITH SAINTS 
(Panel) | | 
Height, 24° inches; width, 18 inches | ye 


Tue Virgin, in her traditional robes of office, holds the Child, in 
yellow patterned robe, before her. He rests on the crescent 
moon. In the left background is St. Jerome; in the ee St. 
Bernardino, with the sacred monogram. Blue sky. 


From the sollbetion of M. G. Denis, Paris. 


ANO DI PIETRO 


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No. 9 


SANO DI PIETRO ; | “i 
SIENESE: pe 7 
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39)‘ MADONNA AND CHILD 
. (Panel) 
Height, 16 inches; width, 1214 inches 


Smaz, bust length of the Virgin, who is turned toward the left, 
her head framed in by the white kerchief and blue hood. A 
rosette is at her breast. With both hands she holds up the 
Divine Child, who wears a light green robe and a red mantle. 
Gold background, with the halos incised and tooled. 


No. 10 


AMBROGIO DI BALDE SE 


FLORENTINE: 1352—1429 


THE MADONNA AND CHILD, == 
WITH SAINTS eT 
é Wo © (Wood, arched) Vy: Vy 


Height, 221, inches; width, 12% inches 


Tue Madonna, in a richly brocaded tunic and a dark blue mantle 
lined with green, holds on her lap the Child, who wears a light 
yellow robe, girt at the waist; on the left are St. Peter, and St. 
Dominic with the lily. On the right are St. Paul, with a sword, 
and St. Nicholas with the three golden balls. Gold background. 
In the upper portion of the composition is Christ in the tomb; 
on the left is the Virgin, on the right St. John the Baptist. 


Exhibited in the Loan Exhibition of Italian Primitives, New York, N ovember, 
1917, Catalogue No. 15. 


“We know that Ambrogio worked for the Florentine Duomo, where he 
executed decorative works in conjunction with such painters as Jacopo di Cione 
and Bicci di Lorenzo. In his best works he stands on the.same level as Gio- 
vanni dal Ponte, and he may thus be regarded as one of the links between 
the old Giotto School and the Quattrocento masters of Masolino’s and Ma- 
saccio’s time and style.” (Catalogue of the above Loan Exhibition.) 


No. 1O—AMBROGIO DI BALDESE 


No: -11 


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AMBROGIO DI BALDESE q 


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4 ty enteae Iratran: GD ghee ‘eine a 
THE MADONNA AND CHILD, € a 
WITH SAINTS AND ANGELS a 
(Panel) 
Height, 261, inches; width, 17 inches 
Tue Virgin, enthroned between two seraphs, and seen against a 
gold background in small full-length figure, looks out at the 


beholder. On the left of the throne stands St. Anthony, and 
on the right St. Paul. 


Se Sen 8 SRAAAAAA 


a aks cae aie aie note ee 


ALDESE 


No. 1I—AMBROGIO DI B 


No. 12 


ANGELO BRONZINO fate a os 


Tesirane 1502—1572 


SOO —. 
PORTRAIT OF A YOUNG LADY 

(Panel) 
Height, 1824 inches; width, 144 inches ea. 
Bust length ; three-quarters to the left. In low-cut dress, j juicy | 
green in color, with gold buttons, slashed and puffed; a Medici 
collar, decorated on the inside with gold pattern. A pearl neck- 


lace with pendent jewel and pearl ornament; pearl coronet and 
ornaments in her hair. Dark background. 


£ 


eS ys 


No. 12—ANGELO BRONZINO 


No. 18 


JUAN DE BURGOS 


(ATTRIBUTED TO) 


SPANISH: XVTH ey hui & 


ST. BLAISE 


3 [Ss 
(Panel) 


Height, 25°%/, inches; width, 20 inches 


Hatr-Lenecru figure, turned slightly to the right. In full ec- 
clesiastical attire; his robe is bordered with gold and set with 
precious stones. The sleeves are white. The right hand is up- 
raised to bless; the left, which holds the crozier, is gloved. The 
mitre is set within a halo. Gray hair, and with an earnest and 
pious expression. Seen against a plain stone low wall, above 
which the background is decorated with gold, square patterns 
which contain floral or geometrical designs. 


BE Rain Pts 


DE BURGOS 


13—J UAN 


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No. 14 


LUCAS VAN LEYDEN 


Durcu: 1494—1533 


THE ADORATION OF THE SHEPHERDS 
SO Cee ee a “Ny tre 


Height, 17% inches; length, 23% inches 

Smatu full-length figures, in an interior, before a niche, the: Hoot i in 
half ruin. In the left background kneels the Virgin, in rich blue 
dress, a white headdress and a kerchief across her shoulders; her 
hands are crossed over her breast, as she regards the Infant who, 
surrounded by puttz, lies in the center foreground. A tall shep- 
herd, in strong red robe on the right, inclines his body toward the 
cradle. Further back, and on the left, are two shepherds, one of 
whom plays the bagpipes. The dark-green curtain, half drawn 
aside in the right foreground, reveals og of children Bronce 
together. 


From an English collection. 


NHGUAWT NVA SVON'I—FI ON 


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EA PR Nae 


No. 15 


PIETER POURBUS THE YOUNGER : 


Fremisu: 1513—1584 


PORTRAIT OF A YOUNG MAN 


LORAIN a 
Woe 4 (Pancha ‘VW. ( 
ee Height, 1934 inches ; width, 141%, inches 


Sma. three-quarter-length figure of a young man, tiened to- 

ward the right. In a black doublet, with hanging sleeves, small ag 

white ruff and cuffs. His right hand is on his waist, his left holds a 

his gloves by his side. Fair hair, bright blue eyes, and an incipient = —_ 

beard. | Sean a 

Inscribed at the top on the left, “anno pyr 1574”; and on the right, “ARTATIS | 
suAE 25,” with the artist’s initials “P.P.” 


From the collection of Baron Kervyn de Lettenhove, Bruges. 


No. 15—PIETER POURBUS THE YOUNGER 


an ATRL timer cial det Hg URL, 


No. 16 


JEROME BOSCH 
FiemisH: 1460—1518 
THE LEGEND OF ST. CHRIST wes 
i bird om (Panel) = Ce ‘ 


Height, 19°4 inches; width, 1314 inches 


Unper the branch-thatched penthouse reclines the giant Offero, 
with his palm-tree staff on the ground by his side. From the 
right, across the ford, approaches the Infant Christ, who calls 
to Offero (afterwards to become St. Christopher ) to carry Him 
across. From among the many incidents in the background we 
discern the guardian of the ford, who holds his lantern for the 
enlightenment of travelers; a procession of men on horseback, and 
others, seen near houses outside the walls of a medieval city. 
Beyond is a wide-spreading landscape, with a windmill and dis- 
tant hills. Blue sky, with birds. 


From the collection of L. Gordon-Stables, Esq., London. 


No. 16—JEROME BOSCH 


No. 17 


JACOPO DI CIONE 


IraLiaANn: Seaguae. 

Rae 

THE CORONATION OF THE KIRGIN) 
(Panel) , 


/ Tb ae _ Height, 23% inches; width, 16% inches 


SMALL, nearly full-length figures. An octagonal composition, on — 
a gold ground. The Virgin, on the left, wears a red tunic and a 
white decorative mantle lined with green. In profile, to the right, 
she receives the crown from the hands of Christ, who wears His 
traditional robes. Behind and between their knees and the back- 
ground kneels an angel. At the sides are a pair of six-winged, 
red-clad seraphs. Above fly two blue-robed cherubs. 
From the collection of Alexander Barker, London. _ 

From the collection of Sir William Farrer, London. 

Exhibited at Exhibition of Early Italian Art, New Gallery, 1893-94, London. 
Exhibited at Leeds in 1868 (“lent by Alexander Barker, Esq.’). 
Mentioned by Graves in “Century of Loan Evhibitions,’ p. 2101. 

Examined by Prof. O. Sirén. 


17—JACOPO DI CIONE 


No 


No. 18 


MARIOTTO DI NARDO 
AL ye a sor ee Irarran: Active. AB. ,1420 . 


THE VIRGIN AND CHILD, W 
(Panel) 
Height, 341, inches; width, 18 inches (arched top) 


SAINTS 


Smaut full-length figures. The Virgin, seated and with clouds at 
her feet, gives the breast to the Child. In the front, on the left, 
kneel St. Bartholomew and St. Lawrence; and further back is 
St. Catharine. On the right are St. John the Evangelist and 
St. Augustine, with St. Dorothy at the back. A half segment of 
a Mandorla above is formed of cherubs and seraphs. Arched, and 
cusped setting. Along the base: “Pater Noster qui es in.......” 


From the collection of Wesley Harper, Esq. 


“4A thoroughly characteristic work by the Florentine painter Mariotto di 
Nardo, executed about 1420.”—Osvatp Siren. . 


ARDO 


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No. 18S—MARIOTTO DI 


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No. 19 : 
NARDO DI CIONE 


FLorENTINE: (Active 1340—1365) 


THE CRUCIELXI ON 


ott — ee ae, By 


Height, 28 inches; width, 121%, inches 


Tue Cross is erected in rocky ground; at the foot of it kneels 
Mary Magdalene, who embraces the feet of Christ which rest on 
the swppedaneum. On the left are the Marys and St. John, and 
a soldier on horseback. On the right is the Centurion Longinus 
with another horseman; the soldiers are casting lots for the rai- 
ment. High above the cross is the pelican, billing its breast. 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 12. 


“The composition of the picture is in many ways unusual. ° The figures 
are arranged on the steps of a rock in different vertical planes, almost as in 
a stone relief. The combination of bright yellow, blue and red is very effective 
and original, and therefore seldom met with in Trecento pictures. Only in 
the works of Andrea Orcagna and his elder brother, Nardo di Cione, do we 
find similar compositions and arrangements of colour. We may especially 
here compare Orcagna’s small picture representing the Adoration of the 
Magi in the Jarves Collection at New Haven. The composition is there 
built up on similar principles. The types, however, are different from those 
in Orcagna’s works and correspond most closely to the types which we find 
in the Paradise frescoes of the Capella Strozzi in Sta. Maria Novella, Florence, 
which were painted by Nardo.” (Catalogue of the above Loan Exhibition.) 


AE REN BIE SON: 


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No. 19—NARDO DI CION 


No. 20 | 


FILIPPO MAZZUOLA 


x J 6 2 v Nort Irarran (Active 1475-1505)  , 5 


THE MADONNA AND CHILD, 

WITH ST. JOHN AND ST. C 
(Wood) 

Height, 32 inches; width, 201% inches | 


THREE-QUARTER-LENGTH figure of the Madonna, in red robe, cut 
square at the breast, and a mantle bordered with gold. She is 
seated on a throne which has a cloth of honor with a red and. 
white edging. Beneath red curtains, and against a dark back- 
ground stand St. John the Baptist on the left, and St. Catharine, — 
with her wheel, on the other side. A parapet, with the inscription 
in the cartel unfortunately obliterated. 3 


Exhibited in the Loan Exhibition of Italian Primitives, N ew York, November, 
1917, Catalogue No. 93. . S 


“Probably an early work by Filippo, painted about 1480, or a little later. 
It is more primitive in feeling, and more provincial, than his later works 
in which the Venetian influence becomes more dominating.” (Catalogue of 
the above Loan Exhibition.) 


No. 20—FILIPPO MAZZUOLA 


No. 21 


PIETER BRUEGHEL THE YOUNGER ~ 


Fremisu: 1564—1638 


Ly} 09072 -A BETROTHAL FPESTIVITY 
(Panel) 
Height, 29 inches; length, 46 inches 
Some thirty peasants and their women folk are assembled in an 


interior, apparently for the purpose of celebrating the betrothal 
of two of their number. In the center, and toward the right, at 


a table a woman in a red dress and a man, in brown coat, appear 


to be determining the amount and nature of the dowry of a 


young woman, seated between them with the bridegroom at her 


side. In the foreground are couples dancing. A crowd on the 
right. In the center a couple are kissing near a pair of steps. On 


the left are bagpipers, and a man leaning on a table. A scene of 


much merriment. 
Signed below, on the left, BrurcueEr, 1644. 
From the collection of Mr. Rodolphe Kann, Paris. 


Described and reproduced by Dr. Bode in the Catalogue of the Rodolphe 
Kann Collection, Vol. I, p. 8, No. 6. 


No. 21I—PIETER BRUEGHEL THE YOUNGER 


pe =a 


Now 22 


SCHOOL OF PALERMO 


Iratrtian: XVruH CENTURY Ge Ce eo | 9 


THE DORMITION OF MARY 
/ i hy scat (Panel) 


Height, 2614, inches; length, 481, inches 


Some twenty-one figures, smaller than life size. On a couch, 
spread with a red covering, the Virgin lies prone in death, her 
hands crossed over her lifeless form. In a Mandorla at the back, 
Christ in Heaven receives into His arms the Virgin’s soul; four 
angels are round about Him, while two others hold candlesticks. 
One of the apostles, near the head of the couch, holds the aspergés 
and another a censer. Other apostles stand round in various 
postures. Floral foreground, gold background. 


No. 22—SCHOOL OF PALERMO 


No. 93 | oe 
JAN MIENSE MOLENAER 


Dortcu: as. 1615—1668 


AN INTERIOR, Kee FIGURES 


et vi gt (Panel) 


Height, 241%, inches; length, 34 inches | ee 


A MERRY company of men, women and children, arranged in dif- 
ferent groups. In front of the fireplace on the left a woman, 
about to peel an apple, looks round toward an old man on whose 
lap sits a child. A cat is on the stool by his side, and a dog sits 
on its haunches. Children kneel inwards, facing each other, in 
the center as they play. On the extreme right a man in a red 
coat points the finger of scorn at a woman seen n through a half- 
door in the right background. 


Signed on the box footstool on which the cat is lying, Moen an. 


YUAVNAWIOWN ASNAHIN NVL—EZ ‘ON 


7 ; ) were. - oa. ah oj Pe ‘i ae SpA eee oa 


No. 24 


HENDRIK DE MEYER 


Doutcn: XVIIrH CentTuRY 


A RIVER SCENE, AT DORDRECHT, 
a ae WITH SHIPP. RAI AND TGC ES 
210; 0 ee (Panel) | 


Height, 29 inches; length, 42 ark 


Numerous sailing vessels, gaily beflagged, and boats are on the 
river Maas opposite the church of Dordrecht. Many men and 
much merchandise and horses in the ferry-boat which crosses in 
the center. In the left foreground are five men, dressed in of- 
ficial attire, in a rowboat. From the bank on the right runs out 
a wooden jetty near a landing place. Blue sky with cloud cumuli. 


Signed on the sailing vessel to the right, near the Jetty, H.D.M. f. 1652. 


UHAUWN Ad MWIYANAHH—*Vé ON 


No. 25 
CORNELIS DE VOS 


Fremisu: 1585—1651 


PORTRAIT OF A GENTLEMAN AND HIS SON 
vi SO Oe (Panel) /V - oe 


Height, 36 inches; width, 27 inches 


THREE-QUARTER-LENGTH figures, facing inwards toward the 
right. The father is in a black doublet, with white ruff and cuffs. 
The fingers of his right hand are inserted in a gray-bound book, 
with red-ties, placed on the table with a green cloth on the right. 
Behind him is his son in gray doublet, flat lace collar and ue 
his hands are folded. Neutral background. 


A companion picture to the following, No. 26. 


From the collection of the Due de Talleyrand-Sagan, Paris. 


Yo. 25—CORNELIS DE VOS 


No. 26 
CORNELIS DE VOS_ 


‘Fremisu: 15851651 


PORTRAIT OF A LADY 
AND HER DAUGHTER 
/ so g a6 (Panel) Ta 

Height, 36 inches; width, 27 inches ¥.5 
THREE-QUARTER-LENGTH figures, facing inwards towards the left. 
The mother wears a black dress trimmed with gold buttons, large 
ruff and white cuffs; her hands are folded, as she kneels before 

an open book placed on a green-covered table on the left. Behind 
her is her daughter in dark gray dress with pleated ruff. Both of 
these figures wear gold, framed headdresses. Neutral background. 


A companion picture to the preceding, No. 25. 


From the collection of the Duc de Talleyrand-Sagan, Paris. 


No. 26—CORN 


ILIS DE VOS 


Noe2e 


BARTOLOMMEO DI GIOVANNI 
(“ALUNNO DI DoMENICcO’” ) 
| FrorentiInE: Active 1485—1500 


1 Gye A SAINT ve fe 
70 (| rents (Wood) ; (3 
H eight, 26 inches; width, 191%, inches 


THREE-QUARTER-LENGTH figure of an Evangelist (?), turned 
three-quarters to the left. In a black robe, he has a long gray 
beard, and holds a red book in his left hand. Light blue sky. 


Exhibited in the Loan Ewvhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 29. 


“Bartolommeo di Giovanni was first discussed as an artistic personality 
under the name of “Alunno di Domenico” by Mr. Berenson in an article in 
the Burlington Magazine, No. 1, 1903, where the painter’s close relation with 
Domenico Ghirlandaio was emphasized. Yet it is evident that Bartolommeo 
went through some distinct stylistic transformations, caused by influences 
from different quarters. This picture probably belongs to 1486. It is 
strongly Ghirlandaiesque in style.” (Catalogue of the above Loan Exhibition.) 


No. 28 


SIMONE DA BOLOGNA 


BoLoGNESE: ACTIVE 1370 


THE CORONATION OF THE VIRGIN Of 4 
(Wood) Cee fs 4) U 


Center Panel: Height, 1914 inches; width, 91% i 
S ¢ d Oe ~~ Each of the Wings: Height, 8 inches; width, 434 inches 


Tue Madonna, seen at full length, is being crowned by Christ. 
The canopy of the throne is borne by two angels, and behind them 
are three seraphim and six cherubim. Still higher up are other 
angels. In the left wing in separate panels, in three tiers, are 
(I) St. Benedict, (IL) St. John in the Isle of Patmos, and (IIL) 
The Announcing Angel. In the right wing, similarly disposed, 
are (I) St. Nicholas, (II) St. John the Baptist, and (IIL) The 


Annunciate Virgin. 

Inscribed in the center, below: “Symon de Bononia pinxit.” 

Formerly in the Marcille Collection, Paris, and sold March 6, 1876, No. 61. 
In the Somzée Collection, Brussels, March, 1904, No. 368. 

G. Rosini: “Storia della Pittura Italiana,’ 1848, Vol. II, p. 145. 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 75. 
“The unusually fine preservation of this little domestic altarpiece, in its 


old frame, adds to its interest as an example of the Bologna School towards 
the end of the Fourteenth Century.” (Catalogue of above Loan Exhibition.) 


MONE DA BOLOGN# 


No. 28—SI 


No. 29 


SIMONE DA BOLOGNA — 


BonocNese: AcTIvVE AaBoutr 1370 


fe es 


THE CRUCIFIXION, 6 dw gt ake 

WITH SAINTS AND ANGELS. 
(Panel) © 
Height, 1434 inches; width, 8 inches — 

Curist on the Cross is ministered to by blue-clad angels who catch 

the blood in chalices. Seated on either side, against a gold back- 

ground, are the Virgin and St. John. In the small arcaded com- 

partments below are half-length figures of female Saints; of these 

the Magdalene, Catherine and Helena are placed in the center. 


Examined by Prof. O. Sirén. 


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No. 29—S 


No. 30 
SCHOOL OF MASACCIO | 


Hi pO BS -Fronentine: 1401 Fie be ee 
SALOME RECEIVING THE HEAD 4 
OF ST. JOHN THE BAPTIST 
(Panel) 
Height, 11% inches; length, 20 inches 
On the right, at one end of the long table at which are other guests 
of honor, Herod is seated between dignitaries of the Court. 
Salome kneels, holding the head of the Saint on the charger. 
Floral tapestry background to these figures. Towards the left 
are three youthful courtiers; menials and a monkey are by a 
table on the left, on which are viands. Through the doorway is | 
the view of a garden. Tiled foreground. ‘, 


From the collection of Baron Miller von Aicholtz, Vienna. 


OIDIVSVW AO TOOHOS—08 ON 


No. 31 
SCHOOL OF MASACCIO 


FLORENTINE: ge 3 

92 512 THE BAPTISM OF CHRIST — 
: (Panel) ‘ . 
Height, 11% inches; length, 20 inches 


TurreE angels holding the vestments, which are red, blue and 
white, stand on the bank on the left. In the center Christ is in 
the River Jordan, at the moment of His Baptism by St. John, - 
who, holding the shell and the cross, stands on the edge of the 
bank on the right. Rocky setting. The Holy Dove appears in’ 
the sky. | ~ ag 


From the collection of Baron Miller von Aicholtz, Vienna. F 


OIDOVSVW AO "IOOHOS—TE& ‘ON 


No. 32 
GIANFRANCESCO PENNI 


Roman: 1488—1528 


PORTRAIT OF A ROMAN LADY ? 
y. ¥ 00) Rgds «2 (Canvas) (OT Barn Y 


Height, 26%, inches; width, 201%, inches 


Har length; three-quarters to the left. In a rich puce dress, 
the breast, sleeves and shoulders trimmed with bands of gold 
material; a thin gauze insertion over the shoulders. She wears 
a gold coronet. Architectural background, with a rich green 
curtain on the right. 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 838. 


Examined by B. Berenson. (Letter dated April 28, 1913.) 


“The place of honor among Raphael’s Roman pupils may without hesi- 
tation be accorded to Giovanni Francesco Penni. He approaches his master, 
particularly as a draftsman, more closely than any other of the painters who 
followed in the wake of the young Umbrian. The greater part of Penni’s 
drawings have been honored with Raphael’s name, and the same has indeed 
happened to many of his paintings, particularly his portraits. The present 
portrait of ‘A Roman Lady’ is most closely connected with a portrait in 
the Museum at Strassburg. It must have been executed during Penni’s very 
latest period; he died almost as young as his master, forty years of age, 
in 1528.” (Catalogue of the above Loan Exhibition.) 


NG.633 


LORENZO LOTTO. 


VENETIAN: 1480—1557 


PORTRAIT OF A YOUNG MAD 

[+4 CME | (Canvas) 
Height, 27% inches; width, 25 inches 

Hatr length, nearly full face. In a black doublet edged with fur, 


and a black cap. His left hand is gloved, and he holds the other 
in his right. He has long hair and a beard. Gray background. a ; 


About 1854 in the collection of the Duke of Devonshire; and seen by 43 
Waagen (“Art Treasures,’ Vol. III, p. 345), who eee attributed it to 
Lorenzo Lotto. . 


Mentioned also by Crowe and Cavalcaselle, Vol. VI (1876), p. 592. (Cot. eos 
lection at Chatsworth.) > 


Subsequently in the collection of Count Goloubew, Paris. 


Graves: “Summary of Waagen,” p. 112. 


Exhibited in the Loan Ewhibition of Ttalian Primitives, New York, November, 
1917, Catalogue No. 94. 


LORENZO LOTTO 


No. 33 


No. 34 


ANTONIAZZO ROMANO 


Centra Iranian: Active 1460—1508 


| |, THE MADONNA AND CHILD 
St she Ui ON gees (Wood) WV: 


Height, 22%, inches; width, 144%, inches 


Tue Virgin, in her traditional robes, holds on the parapet before 
her the standing Infant who wears a coral necklace, and is in part — 
covered by the gauze material which He grasps in His right hand. 
His right hand is raised to bless in the Greek manner. The back-— 
ground is of gold, and patterned with floriated designs placed in — 
ogee-shaped compartments. 


Exhibited in the Loan Ewhibition of Italian Primitives, New York, Niven 
1917, Catalogue No. 82. 


“No doubt this is one of Antoniazzo Romano’s most pleasing Midornes 
It repeats, with slight modifications, a composition which was almest canonical | 
in the Umbrian School towards the end of the fifteenth century, and was 
repeated by a number of Perugino’s and Pintoricchio’s followers. Antoniazzo— 
has emphasized the ornamental aspect of the picture by adorning the golden 
background with a brocade pattern, in the same manner that he treated the 
background of the large altarpiece representing the Madonna between St. 
Peter and St. Paul, with twelve members of the Rota, in the Vatican Gallery. | 
That is probably Antoniazzo’s finest artistic achievement, and it is only just to 
say that the present Madonna is closely allied to the Vatican altarpiece, 
both in style and quality. It was painted between 1480 and 1490.” (Catalogue 
of the above Loan Exhibition.) 


No. 


34— ANTONIAZZO ROMANO 


dis! fa ae . Siw ol eae a) ae “yy po > <<. 
2 ee ee) a 


No. 385 
ZANOBI STROZZI 


IranrAn: 1412—1468 ( . - ae 


THE DESCENT FROM THE CROSS 
Vall gd 0 (Panel) 


Height, 2454 inches; width, 17 inches 


Tue lifeless body of Christ is being lifted down from the Cross — 
by Joseph of Arimathea and Nicodemus, who stand on ladders. 
At the foot of the Cross is Mary Magdalene, in a red robe. Near 
by are the Marys, and some of the Disciples. Landscape back-_ 
ground with hills, a river and the wall-surrounded city of Jeru- 
salem. 


From the collection of Prof. Elia Volpi, Villa Pia, Florence, Catalogue, 1916, 
No. 1,008. 7 : 


NOBI STROZZI 


L 


35—ZA 


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No. 36 


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GIAMPETRINO (PIETRO RICCI) 


Tratran: XVItH Century 


BUST OF AWQMAN ~~ ¢ 
3 oe SS (Panel) OA AOVOe 


Height, 28, inches; width, 21%, inches 


THREE-QUARTER length, turned three-quarters to the left. She 
has long, golden-brown hair which is plaited and falls in long 
curls on to her shoulders. She is partially nude, and seated in a ee 
round armchair. A drapery is round her waist, and loosely e. 
placed over her right forearm. Her right hand is peat! on a 
her left, which rests on the arm of the chair. ‘ 


From the collection of Count Chabriéres-Arlés, Paris. 
Engraved in the “Catalogue of Chabriéres Collection,’ No. 7. 


Pictures of this type have been the subject of criticism at the hands of — 
many leading art writers. In quite recent times we may instance the articles | a = 
on the subject in Rassegna d’Arte, March, 1909, and the Burlington Magazine, \ 
May, 1909. The whole subject has been most fully and responsibly dealt with __ 
by Mr. Herbert Cook in his “Reviews and Appreciations,” 1912, pages 35-40. 
Such compositions, whether in cartoon or painting, have their origin in the 
magnificent cartoon, in black chalk heightened in white, which belongs to 
the Musée Condé at Chantilly. In that, as well as in a less degree in the 
cartoon in the collection of Lord Spencer, we find something of the mystery 
of Mona Lisa. Certain other painted versions are treated with a boldness 
and with peculiarities of modeling which suggest the hand of such pupils 
and followers of Leonardo da Vinci as Ambrogio de Predis and Salaino. The 
present work has such an archeological interest, which is in fact heightened 
by its having been engraved as a work by Giampetrino. 


CI) 


C 


No. 36—GIAMPETRINO (PIETRO RI 


No. 387 


GIAMBATTISTA TIEPOLO 


VENETIAN: 1696—1770 


go LA BEATA LUDVINA 
(Canvas) i777 é 


Height, 26 inches; width, 20 inches” 


Busr length, in full front, her head rather on one side. sf a Noose 
brown cloak, which is buttoned; a neck-kerchief round her throat; — 
her head partly covered. Gray background. A girl of vee - 


years, with an ecstatic gaze. 


According to the inscription on the back of the painting, Ga. B. roe 
painted it in 1741. ie 


From the Galleria Crespi, in Milan. 

Described by A. Venturi, “La Galleria Crespi,’ p. 185. 
Described by P. Molmenti, p. 147. . 
Described by E. Sack, pp. 99, 172, No. 187; (reproduced). 


Described by P. Molmenti, Edition Francaise, p. 118. 


o. 8I7—GIAMBATTISTA TIEPOLO 


No. 38 ial ‘io 
GIAMBATTISTA TIEPOLO 


VENETIAN: 1696—1770 


THE LAST JUDGMENT 
rf .o . (Sketch for a Ceiling Puntiig 
oe’ 0 0 YW 


(Canvas octagonal) 


Height, 30 inches; width, 1514, inches t 
THe Angel announces the End of All Things on the trumpet, as - 
he descends from the sky. The bearded figure of God the Father 
is accompanied by the heavenly host. On the left the Blessed 
rise out of the tombs; on the right the Damned go down into the 
tortures of everlasting night. Below the frieze of the archi- ~ 
tectural setting are putti. : 
From the collection of M. Camille Groult, Paris. oS 


From the collection of M. Henri Rochefort, Paris. 


O 


4 


TIEPOI 


No. 38—GIAMBA TTISTA 


San 


jae 


No. 39 


GIOVANNI DOMENICO TIEPOLO — 


VENETIAN: 1727—1804 


uv © 


— 


HEAD OF AN eer y 


(Canvas) 

Height, 23° inches; width, 1934 inches _ 
Busr length, life-size, slightly towards the right. In cage and 
brown toned cloak, open at the neck; a large turban richly col- 
ored and patterned in white, blue and gold. Neutral background. 
From the collection of the Duke de Hijar. | 
From the collection of the Duke de Salamanca, Paris. 
From the collection of Mr. Rodolphe Kann, Paris. 


Described and reproduced by Dr. Bode in the Catalogue of the Rodolphe 
Kann Collection, Vol. II, No. 139. Mentioned in the Preface of same — 
Catalogue. 


0. 89—GIOVANNI DOMENICO TIEPOLO 


70 


( 0 GO: —- (Canvas) 


No. 4.0 


VENETIAN: 1727—1804 | ms 
| HEAD OF A YOUNG its Ln ee 


Height, 23%, inches; width, 19%, anche 


Bust length, life-size, towards the right. In fine blue mantle, Ti F 
and trimmed with fur; white under-coat, with jeweled clasp. 


F ancifully ornamented head-dress. Blue backerquaaay : aes 
From the collection of the Duke de Hijar. | _ ae 3 
From the collection of the Duke de Salamanca, Paris. > 2 a 
From the collection of Mr. Rodolphe Kann, Paris. | = spar 


Described and reproduced by Dr. Bode in the Catalogue of the Rodolphe Ronn 


Collection, Vol. II, No. 13}. Mentioned in the Pie Of the same | 


Catalogue. 


i 


I DOMENICO TIEPOLO 


Z. 
= 


No. 40—GIOV 


No. 41 


ALEGRETTO NUZI 


CENTRAL IrTartan: 1806—1385 


CHRIST ON THE CROSS 
Pi Wood, arched : 
een) : 


Height, 29 inches; width, (19°, inches 


Two angels fly inwards beneath the arms of the Crucified to catch 
the blood. At the foot of the Cross is Mary Magdalene; on the 
left are the Marys; on the right is St. John, with clasped hands. | 
In the foreground kneels a Dominican nun. In the upper por-— 
tion of the composition, but detached from the main action, are 
(1) on the left, a small half-length figure of St. John the Evan- 
gelist in the cauldron of boiling oil, and (2) on the right St. 
Francis. Gold background. | 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 71. : 


“This Crucifixion must have been painted by Alegretto Nuzi at a rather 
early epoch of his career, but after he had left Florence (where he probably 
studied in the bottega of Orcagna) and had settled in his native city of 
Fabriano. It shows close stylistic affinities with the altarpieces by Alegretto 
at Fabriano and at Macerata, dated respectively 1366 and 1369. The well 
drawn figures with the large sculptural heads reveal the master in full 
possession of his individual method of expression, and in a rather interesting 
emotional aspect.” (Catalogue of the above Loan Exhibition.) 


O NUZI 


ETT 


. 41--ALEGR 


No 


No. 42 
JAN VAN SCOREL 


Dutcu: 1495—1562 


MADONNA AN AILL 
aT TU we (Panel) : 


Height, 1914, inches; width, 1314, inches 


Due Virgin, wearing a fur-lined red mantle and a blue Lane 
which is cut square across the breast and is open to suckle the 
Infant, looks down at her Son, who has fallen asleep on her left —__ 
arm; with her right hand she turns the pages of the book placed = 

on the parapet, behind which she is seen at half length. A Raeren a 
ware vase, on the parapet, contains a lily stem. Landscape back- 

- ground, with trees and rocks. 
Reproduced and described in “Rassegna d’Arte” (1911) by Ferdinando Meazza, 


Vol. XI, p. 125, “Un dipinto inedito Di Jean Schoorel” (“A hitherto 
unknown painting by Jean Schoorel”). 


AN VAN SCOREL 


No. 42—J 


0 a ee 


No. 43 a 


LUCAS CRANACH THE ELDER 


German: 1472—1553 — Se OS 


SALOME | Fe: ae 
Of C0 mes Panel) (OL, Q. Nr LU 


Height, 224%, inches; width, 13%, inches 


Smaxy full-length, non-resilient figure of a lady painted to Teo, : 
semble Salome. Her dark red dress has several bands of gold 
embroidery, and her sleeves are puffed and slashed. She wears a _ 
gold necklace, a chain and jewels on her bare neck, and her hair s 
falls in curls on to her shoulders. As she moves toward the 
left, she holds on a metal charger the head of St. John the Bap-— 
tist. She is standing on a light-toned cee bee a dark 
wall at the back. — 


Signed high up on the right ee: the orotomed serpent, the painter's sign 34 
manual. 


From the collection of Count Montbrizon, Chateau St. Roch, France. 


From the collection of Mrs. Chauncey J. Blair, Chicago. 


DER 


4 


I 


E E 


No. 48—LUCAS CRANACH TH 


No. 44 


THE MASTER OF ST. SEVERIN | 


GerMAN: Late XVruH CenTURY 


THE VIRGIN AND CHILD, WITH ST. a. 

Sug ge Pm arr eh WVatitrns — 
Height, 16% inches; width, 131% inches 

Iy an enclosed garden in front the Madonna is enthroned, with 

the Child on her knee. On the left kneels St. Catherine, with her 

crown, book, sword and wheel. Facing her is St. Mary Magdalen, 

with her pot of ointment. In the hortus clausuws, which bounds 

the composition, ladies in bright attire promenade before dwelling 

houses with high-stepped gables. Trees and blue sky. 

From the collection of Count Montbrizon, Chateau St. Roch, France. 


From the collection of Mrs. Chauncey J. Blair, Chicago. 


VERIN 


4 


S 


ER OF ST 


No. 44—THE MAST 


No. ADS ; 
JAN VAN GOYEN 9 
Durcn: 1596—1666 RARE i oe) < 


A DUTCH CANAL WIT FISHE 


(Panel) o ‘i ; 


G Ga Height, 14 inches; width, 17 inches 


On the bank of a canal two rowboats containing 
putting in to a landing stage. On the left the steps 
cipitately to the level above, where are fishermen nea 
standing out against the sky. On the right is a wide 
waters of the canal with sailing vessels in the distance. 
sky. ; | | 


iy 
Signed, on the boat on the left, with the monogram, J. V.G. ee 
: <u a 
From the collection of W. M. Chase, Catalogue No. S44.) eee ae ae as 


NaIAOD NVA NVL—SV "ON 


Kr ERO moons 
Be 


oar eae 


No. 46 


PETER PAUL RUBENS 


FremisH: 157 7—1640 


MINERVA AND THE Is 

274 4 He (Panel) WV 

Height, 1314, inches; length, 161% inches | 

Sma full-length figures seated at the seashore. On the a f 
Thetis, on the globe, and with a rudder by her right side, is light 

draped. She clasps the right hand of Minerva who, draped ino 

red and blue and wearing a helmet, holds a lance before shen 2. 
Sandy soil in the foreground; the sea beyond. \ 


~y 


From the collection of Baron de Beurnonville, Paris, 1881, Catalogue No. 488. 


Reproduced in the Catalogue Beurnonville, Plate 41, and there deseribed as — 
“une belle esquisse.” ; wt ae et 


Max Rooses, in his “Giwore de P. P. Rhone ” Vol. IV, p. 42, under ol 23, pe 
mentions this sketch as being in the Beurnonville Catalogue under the title 4 
of “Minerva and Thetis.” But it represents, according to Max ons 
“The Allegory of Good Government.” ae 


SNHGNUY TOVd YALAd—9P “ON 


No. 47 


SICILIAN PAINTER 


(Late Firrreentu Century) 


THE ANNUNCIATION 


py as woo, .(0. WIR Boo 


Height, 1634 inches; length, 21 inches 


Tue Virgin kneels in her bed chamber before her Prie-Dieu, on 
which is an open Book of Hours. Her long, flowing mantle is 
of gold brocade. In a recess at the back is her bed.- In the 
center is a vase containing lilies, past which the Holy Dove flies 
towards the right. On the left kneels the Archangel Gabriel, 


[Continued on the following page 


eg 


Fee] 
“ii” 


is - Pa ‘ - lak ‘| 
were Ail we : ee 4 = A a : py 
alk cay fe. aa sia — a . 


~ 
a 


a 


holding the scroll inscribed: “Ave Gracia plena. Dominus te 
|cum|.” <A landscape seen through the casement. 


Formerly in the collection of Arthur Hughes, London. 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 102. 


“The peculiar mixture of Venetian and Flemish elements of style in this 
picture makes it probable that it was painted in Sicily, where these currents 
from different schools cross. It is the work of a painter of the end of the 
fifteenth century who, after he had felt some influence from Antonello da 
Messina’s art, came in contact with Flemish painting.” (Catalogue of the 
above Loan Exhibition.) 


No. 48 
TADDEO DI BARTOLO 


SIENESE: 1363—1436 : 


A DOMINICAN EGEND 
Wood 
[fdas Heigh eel. 
— eight, 13% inches; width, 18 inchoe 


A composition of small figures. The action epee ; 
with the legend according to which the boy Napoleone 
his horse and was trampled to death. Clothed in pink, J 
issuing from his head, he lies on the ground under the hoofs of th 
white horse. In the concluding scene he is brought back to life b 
St. Dominic, who stands further back, on the left, in the pres 
of the Cardinal, who is accompanied by two other figures. vit 


rReNaOE Hn ee: a 


From the collection of Captain R. Langton Douglas. 


Exhibited in the Loan Exhibition of Italian Primitives, New Y orn tee 
1917, Catalogue No. 49. 


Pm yet snes ators © 


Br a a 


a a a Atala OS ate esi tats oe gee, rene FAN eth neni re enant ti ao 


No. 48—TADDEO DI BARTOLO 


he =a lr Se ae fs a (~The! tied 
a aa eR aia. 


No. 49 aie 
CHRISTOPH AMBERGER 


German: 1490-1568 
PORTRAIT OF A YOUNG 
Jpg ee Panel ee 
| Height, 144, inches; width, 114, inches 
Bust length, small figure of a man, wearing a 
shirt and a black doublet, and a flat black cap, y 
placed behind his right ear. His body is turned 
left, but his eyes are directed towards the front. | 


ground. 


é 


RGER 


- 
My 


HRISTOPH AMBI 


C 


No. 49— 


No. 50 


ALEGRETTO NUZI 


Centrat [rartan: Active 13860—1385 


THE MARTYRDOM OF ST. STEPHEN 


eeu (Woo Loe a CO) ~ an 
/ Height, 9 inches; length, 1314 inches j= ‘= 


Tue Saint, kneeling in a rocky landscape and before a tree, is 
in profile to the right. He wears the red dress of a martyr and 
a white under-robe, as he prays to heaven. Behind him, and 
from the left, approach four figures, two of whom are casting 
stones at him; some already thrown are on the ground by his 


side. The crenellated walls of a fortified city in the left back- 
ground. 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 72. 


No. 50a 


ALEGRETTO NUZI 


Centrau I[rarian: Active 1360—1385 


THE MARTYRDOM OF ST. URSULA 
AND HER ATTENDANT VIRGINS 


gst we) arly 6 prey 


Height, 9 inches; length, 131%, inches 


In a rocky country, seen against a gold ground, Alaric is on 
horseback on the left, accompanied by his officers; he commands 
his Huns, who are armed with swords or bows and arrows, to 
massacre St. Ursula, whose neck is already pierced by an arrow, 
together with the legendary number of her 11,000 attendant 
Virgins. 

Exhibited in the Loan Evhibition of Italian Primitives, New York, November, 

1917, Catalogue No. 73. 


“These two panels were evidently painted by Alegretto Nuzi, at a 
period when his memories of Orcagna’s bottega had not yet completely faded 
away. Particularly, the bright color scheme with luminous red, orange, blue 
and violet tones betrays connection with the art of Orcagna and Nardo di 
Cione, yet the drawing of the figures, their elongated types with big almond- 
shaped eyes and curved noses, as well as the general execution point to a 
rather mature period in Alegretto’s career, that is after 1365.” (Catalogue 
of the above Loan Exhibition.) 


1 a ‘4 a ’ oe Po en, 07. ran en) 2 a 


No. 51 


_ go (Panel) — 7 
IS ae Height, 1artiches, enna ona : ie 
Tue Saviour is on the Cross, at the foot of which k 
dalene with her pot of ointment. On the left star 
and on the right St. John. In the background, as. 
is a procession of men and horsemen passing m 
outside the gate of a walled city. Background 
beyond. a 


No. 5I—MARCELLUS KOFFERMANS 


J OACHIM D. DPT & 


- FLEMISH: AB. 1450 oats 


ST. JEROME 


g é ba (Panel) Yv- Wn « g AL 
O44 Height, 11% inches; width, 10 inches i: 


Tue Saint, on one knee in the foreground, conte! 
that is nailed to the tree on the left, at the 
the emblematic lion. His mantle hangs on a t 
Landscape background with, in the distance, a 
two-arched bridge, houses and churches. A wit S 
scape beyond, with mountains against the sky line, Bis 


From the collection of Oscar Hainauer, Beas + en = - a 


REO a ONS RTE Ch 
hen seit ar reenter 4 


No. 52—JOACHIM D. PATINIR 


IL “SALVIATI fol 


ITaALian: 1s 


to the left. aie has a dark red beard. Re ‘mus 
doublet and black flat head-dress; narrow white collat 


Inscribed on the left, “evatis sve,” and on the right, 39 7) 


No. 53—IL SALVIATI (FRANCESCO DEI ROSSI) 


a A | 7 >< s wis & 
» 


{ 


Bust length; three-quarters to the right. In academic robe a 
rich red sleeves; white cravat; light brown hair si on to be 
his ears; flat, round, black cap. Neutral background. BS 


From the collection of ie Steele, Esq. 


ge ans | to | (Canvas) yA p. 7 


roe) 


No. 54 


SIR JOSHUA REYNOLDS, P. R. A. 


Encusu: 1723—1792 


PORTRAIT OF THE ARTIST 


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Height, 20 inches; width, 16 inches 


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‘JOHN HOPPNER, R.A 


EN OLisH: 1758 21810 


PORTRAIT OF MISS ESTHE 


(Canvas) 


5 f TG oe Height, 3044 inches; width, 25% inches | 


Har length to the left. In white muslin dre 385 
neck, and white cap; she is seated in a red-back 
before a dull-toned wall. Her long brown gloves 
her elbows. Gas, 

“Miss Esther Raine was the daughter of the Rev. Mathew 
November 7th, 1807. He was vicar of St. John’s Chure 


Rector of Kirkby Wiske, Yorkshire. She probably married 
180 -’— ALGERNON Graves, in a letter dated Dec. 11th, 1915: ier 


From the collection of Mr. Jules Porgés, Paris. a. ie 


ry 


A 


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No. 56 


THE MASTER OF THE DBATH 
IDENTIFIED WITH pit 
JOOS VAN CLEVE THE 


FLEMISH: 1485?—1540? oe | 
PORTRAIT OF QUENTIN 1 
ays od d9 ; ‘(Canvas Ly Lb ; 


Height, 283, inches; width, Was 


fur; small black cap; long fair hair. 
hang he touches a gold ring Paes on the ‘eae 
left hand. Green background. aie 


In perfect state of preservation. 


pv 


E DEATH OF MARY 


ASTER OF TH 


M 


No. 56—THE 


No. 57 


BARTHOLOMAUS DE BRUYN 1 THE: 


Gas Active AB. LBA 


iene the left. Ina black joahen ith red 
a black flat hat, white collar and white linen 
Across the foreground is a parapet covered wi 
carpet. His right hand rests on a black-bound vol 
on the parapet; his left grasps his glove and rests u 
the top of the panel, left and right, are two } rh 
charged with his arms and his merchant’s mark. — 


From the the collection of Baron de Weng de ae ™ 
Strassburg. te 


No. 57—BARTHOLOMAUS DE BRUYN THE ELDER 


te Ss, Renn aS 


QUIRYN BREKELENI “AN 


Dutcu: ACTIVE 1653—1669 _ 


THE T AILOR’S SHG op 


es 


the tailor is sitting at me pea fork 
wears spectacles and is sewing a blue robe; the ii 
left is occupied with yellowish-red clothes. 

wall warms his hands over a charcoal burner. Si 
is an empty barrel; kitchen utensils are placed on the flo 
foreground to the right. On the wall at the back are a 
map, straps, a bag and a shelf with various objects. A leat 
and a coat are by the partition which ge SS the Ww 

from the kitchen. ; Mail ai 


Signed below the window, with the monogram: Q.B. as a S ) fi. 


From the collection of Arthur Kay, Esq., Glasgow. 


No. 585—QUIRYN BREKELENKAM 


a “Ete pee. YOR ee 2 ere) es 


No. 59 
PIETER DE HOOGH 


Dutcu: 16382—1 67 i. 


A LADY AND GENTLEMAN A 

Uy. peg ees Height, 26% inches; length, 33 inches 
In a large room a gentleman, wearing a long re 
black hat, is turned to the right and seated by a 
back is an open window. On the far side of the table, 
an Oriental carpet, is a lady with a white head-dr 
boy, by her side, is pouring out a glass of wine. On tl 
the back hangs a picture. A heavy curtain is drawn up 
through a doorway, a gentleman who is walking for 
dog is in the foreground. In the left foreground a Servi 
kneels, as she stirs the fire. The floor is paved in large 
panels. The walls are covered with Spanish cat : 


(Canvas) 


From the collection of J. can den Berg, Amsterdam, 1776. 
From the collection of Mr. Thurlow, 1904. 
From the collection of Ludwig Mandel, Moscow. 


Described by Dr. Hofstede de Groot, in his “Catalogue Raisonné,” Vol. ee 
190. It is there stated in error that this canvas is “of the very 
period of the master,” and that “from the style of the costumes i 
be dated nearer to 1690 than to 1680.” But this picture cannot be « 
as late. The artist was, moreover, dead long before 1690. Its styl 
tone place it earlier than the “Music Party” which, four years ag as 
from the Steengracht Collection, at The Hague, and ultimately to - 
National Gallery; that picture is signed and dated 1677. , 


HOOOH Wd YUALAId—6¢s “ON 


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No. 60 


JACOB VAN RUISDAEL 


_ Dutcu: 1630—1682 


LANDSCAPE—W ATERF ALLS ee 

V Oto Height, 2844 inches; length, 3734 inches i 
“Tr scene exhibits a hilly country; with a fall of water on 1 either 
side; that on the left is supplied by a stream which flows 
between high banks, and under a rustic bridge; the other stream 
is divided by a rocky elevation, and the fall is feeble. The water 's 
of both falls mingle in eddies on the front ground. The : secon 
distance is diversified with flax and other fields, beyond which i: 
a lofty hill, whose sides are thickly studded with young oak trees _ 
and bushes, which conceal in part several cottages; but of these ~ 
the nearest stands at the base of the hill, and is entirely seen. The 
summit of a snow-capped mountain is visible above the woody hill. 
A man and a woman in conversation are on the bridge, and an- 
other man, with a wallet on his shoulder, is approaching from the te : 
right. The appearance is that of a fine day. This is a carefully 
wrought work of the master.” (Description in John’ Smith's 
Catalogue Raisonné.) : a 


Signed, below to the left: “J. Ruisdael.” eS =: 
From the collection of Lord Crewe, London. pe 
From the collection of W. A. Fébore, Paris, 1882. 

From the collection of Paul Eudel, Paris, 1888. 

From the collection of A. Schloss, Paris. 

From the collection of A. de Ridder, Francfort. mK ‘ 
Exhibited at the British Institution, London, 1841. 
Engraved by Gustave Greux for the Fébvre Catalogue, No. 82. 

Described in John Smith’s Catalogue Raisonné, Supplement, page 697, No. 47. 
Mentioned in Dr. Hofstede de Groot’s Catalogue Raisonné, Vol. IV, No. 410a. 


qavasinu NVA dOOVL—09 “ON 


Srey yetanne ty: ica 


1 


poly, 0 Oe Height, 30 inches; length, 421%, inches 


No. 61 
GERARD DOU 


eae 1618—1675. 


(Panel) 


a hall of noble proportions. In one center is enthinonetl t 
Priest, in full dark red robes; his left hand is extended. 
side, to the right, stands his batonnier; behind, to the 
younger man consults the writings of the prophets, while 
baned man in the foreground is similarly employed. Fro 
left, at the back, enter St. Joseph and the Virgin. Chi 
diminutive figure, with legs bare and wearing sandals, and 
His arms extended in argument, stands on the left. At the ba 
and behind Him, is a group of small figures standing or seated 01 
a staircase. Round a table in the foreground are three “men - 
on it is an open folio; to the right is an armchair. : : 


The style of Dou and the early manner of Rembragde are here clear to ale 
see, notably in the little concealed portraiture of some of the figures. Thus, 
the man in a dark red robe with a plume in his hat, and seen on the extreme 
left of the group on the steps, is beyond doubt a portrait of Rembrandt's. ’ 
father. Dou painted him several times. And the young man holding an : ea 
open book, who stands behind the High Priest, on the left, is Rembrandt  __ 
when he was about thirty. The picture must have been painted by Dou about ee 
1636, under the supervision of Rembrandt. 


From the collection of Paul Delaroff, Petrograd, Catalogue No. 183, (where 
the picture was attributed to Rembrandt). - ( 


Exhibited at the “Exposition Trécentenaire de Rembrandt,” held at Leyden, 
1906. 


Reproduced in the “Klassiker der Kunst,’ Volume “Rembrandt.” 


NOd GUVUAD—TYI ON 


No 62 
LUCAS DE Bee 


FLEMIsH: 1534—1584 


PORTRAIT OF DOROTHY, LADY, 
(Panel) re 


f fe ST 72 - Height, 36 inches; width, 27 inches 


TuHREE-quarTER length, turned slightly to the 
ornamented costume of the Elizabethan period; 
patterned and wrought, and puffed over the 
square across the breast, the dress is further or 
gold chain, and a cameo set in a jeweled ornament. A 
with pendant and an ornamental head- dress. The 
clasped before the waist, and a ore ae is in the 
ground. | toe 
Inscribed above, on the left, “ano pn1 1579,” and a cartaleeen hers 
full. On the right, “arravis sv . . .” and the coat-of-arms with s1 


62—LUCAS DE HEERE 


No. 


No. 638 Oy a 


GIOVANNI BONSI DA FIRENZE 


[ A O40 oie FLorENTINE: Active 1366—1371 
THE MADONNA AND CHILD, WITH SAINTS 
(Wood) 


Height, 451, inches; width, 28 inches 


Tue enthroned Madonna, wearing a robe of golden texture and 
a dark blue mantle lined with green, holds the Infant Christ on 
her lap. He wears a red robe lined with green, and a gold under- 


[Continued on the following page 


d 


robe. With His right hand He blesses in the Greek manner; in 
His left He holds a cardellino. On the left and right of the 
foreground kneels an angel, with folded hands. Above the throne 
another pair of angels hold up the red, blue and gold cloth of 
honor. Each figure is nimbed and seen against a gold back- 
ground. The inscription in the center of the lower step may be 
read, with its contractions: 


“Questa tavola a fatta fare 
Mona filippa di dophilo 
Ammanati, moglie charissima 
Di puchio di ghetto.” 


Exhibited in the Loan Exhibition of Italian Primitives, New York, November, 
1917, Catalogue No. 12. 


“The present picture is attributed to Giovanni Bonsi da Firenze, be- 
cause of its striking similarity in style with the large Madonna, bearing his 
name and the date 1372, in the Vatican Gallery. The points of contact are 
so close that there can be no hesitation as to the attribution, yet it is worth 
noticing that only these two paintings by the master are at present known.” 
(Catalogue of above Loan Exhibition.) 


) 247 ee (Wood) | 


No. 64 


GIOVANNI DAL PONTE 


FLorENTINE: 13885—1487 (S 


ST. JAMES AND ST. JOHN; THE RESU. I 


(Two Wings of an Altarpiece) 


Each panel: Height, 49 inches; width 1242 inches 


In the dexter, or left panel, St. James holds the pilgrim’s s staff 
in his right hand, and a book in his left. | Above, Christ is seen 
rising from the tomb with the Banner of the Resurrection; the 
Roman soldiers lie asleep on the ground. In the sinister, or rights 
panel St. John the Baptist, wearing his camel’s hair coat, holds a 
crystal cross with the scroll inscribed: “Ecce Angnus (sic) Dei.” 

Gold background with trees. Above, angels catch the blood Here ¢ 
issues from the wounds; the sun and moon are treated symboli- Be 
cally. ~~ i 


Exhibited in the Loan Exhibition of Italian REA New Y ork, N ovember, 
1917, Catalogue No. 14. 


~~ 


“The tall and powerful figures, with sharply cut types, reveal at once Pa oe 
the hand of a strongly individual painter. We know the same hand from a 
several large altar pieces in the Uffizi, in the National Gallery in London, 
and in other collections. All these pictures used to be ascribed to Jacopo 
da Casentino, a mistake caused by some misleading statements of Vasari, — 
corrected by Herbert P. Horne in an article in the Burlington Magazine, 
August, 1906, where full documentary evidence is set out about the painter - 
Giovanni dal Ponte. He was a younger contemporary of Lorenzo Monaco, 
and one of the most interesting transitional masters of Florence. \ The 
design of his figures has still something of the Gothic swing, while the treat- 
ment of the folds and draperies approaches the classic mode of the Quat- 
trocento.” (Catalogue of the above Loan Exhibition.) 


No. 64—GIOVANNI DAL PONTE 


JUAN B. DEL MAZO- 


SPANISH: : 1610—1687_ 


PORTRAIT OF THE INFANTA 
MARGARITA 1 MARL : 


on a red ground at her breast; a ee scarf hangs { 
right shoulder. A large red feather over her right ear; | 
hair; a white kerchief in her right hand; a rose in” 


A red curtain, in the background, is caught up on a cl 
left. 


There can be little doubt that this Infanta is to ne I 
Margarita Maria, daughter of Philip IV and Mariana of Aus 
heroine of Velazquez’s famous “Meninas,” or “Maids of , 
Prado. She was five years old when that picture was painted. The 
work belongs to about the same period. Ye 


No. 65—JUAN B. DEL MAZO 


| 


No. 66 
‘LOUIS LEOPOLD BOUL 


Fuente : 1761—18 31 re 


GENERAL, THE MARQUIS D aL 


a 
ace 


(Canvas) 


S q U Gee Hei 351, inches; gi 28h inches 


with red ane ane. gold ee eacde a sword 
and black high boots with spurs. His left h: 
his right clasps the bridle of his steed that 1 
sandy soil. Trees and a grassy background on 
diers ride up in the left distance. 


Lafayette. Each in turn owes soinething to the dominating 
Dyck’s “Portrait of Charles I,” then already in the Cae 3 


gee owe on the left, BOILLY PINXIT 1788. 


Engraved by Balechon. 


From the collection of Eugéne Kraemer, Paris. 


iD BOILLY 


‘ 


OUIS LEOPOI 


No. 66—L 


ad Rade ou (Care 


Height, 38%, inches ; ‘width, 31 inches 


with blue bows heightened with a Rl has eae 
black kerchief on her powdered hair. On a table to t] 
music. She plays on the hurdy-gurdy held in bate: rE 
wall forms the ACE BT ONE 


—— eee 


St te Oe ed ee ee 


’ 


No. 67—LOUIS TOCQUE 


No. 68 


ALEXIS SIMON BI H 


LSE: 16741734. 


LL. i. 


PORTRAI T OF A DA UGH TER Or 
(Canvas 
/ et | On: 


Height, 50 inches; width, 40 ‘inches i 
Sue than life-size, ee eae Tn lo 


a vee apran in aia; at olin ‘dada sik 
white cap, and she wears red shoes with gold buckles. 
bottom corner a dog looks up at the bird which 
stick in her left hand. A portico in Bs nem bac 
scape setting on the left. | 
In the Versailles Museum there is a panne by th | 
representing the Princesse de Montauban and the Marquise de - 


No. 68—ALEXIS SIMON BELLE 


| ‘No 60. 
FERDINAND BOL 


DutcuH: 1611—1681 


THREE-QUARTER-LENGTH, life-size portrait of a lady, 
wards the right. She is in a golden-yellow dress, 
girdle bandolier, open corsage and pearl necklace. — 
hand is her arrow, and in the other her bow which i 
near the head of a hound. Dark landscape background. 

Of the best period of the master and strongly painted. ee 
Signed below, on the left, F. Bow recrr, 1647. | 7 
From the collection of Mr. Jules Porgés, Paris. | 


No. 69—FERDINAND 


BOL 


No. 705 See 


THE MASTER OF FRANK) 


German: Earty XVIrH Cenrury : ne 


THE VIRGIN AND CHILD, WITH — 
ST. CATHERINE AND | 
Sal pan ee (Panel) (Wh | 
Height, 291, inches; length, 46 inches an 

Furt-Lencru figures, smaller than life-size. TI _ 
throned in the center, with the Child standing on her 
a fur-lined red robe. In the left background is a n 


on the right, behind a table that has a basket of fre 
St. Joseph, who holds a. er of wine in his left 


right hand and her wheel on her left ‘aes In ae right. 
St. Barbara with an open book on her knee, and ee t< 
background. 


eed i Siaas Beste 
peel deeo tinea tiga ere : 
mse ipigidlans bare ; s 


No. 702—THE MASTER OF FRANKFORT 


& Decca AP - ae pee % - ere ee eee 
ies: : ; ; “ iE oe: 
masts. * = eae 
F “ Sy steno se eel Mince eit rin PA eh A AGEL LEDLM NADAL AE LE, 


eota teh 


BE REE EEE Se 


oo, We 


ST. AGNES 
(A Triptych) 
(Panel) Vie S 
Center, 3014 inches by 164% inches 


No. 71 
_AMBROSIUS BENSON 


Fiemisn: Earry SCV GH (CENTURY 


Each of the wings, 30%. inches by sy, Priston 


Tue Virgin, holding the Child on her lap, is seatedny in a 
yard under a canopy of red velvet with a cloth of honor o 
and gold brocade. Surrounding the se is a pee 


ing the keys of a harp. An angel in white robes floatsay 
head of the Virgin and holds a richly beers Om 7 


sword and a broken wheel, aad reading from a bra 
an open window the background is formed by a pence 
scape with a blue sky. ~ 
On the right wing is St. Agnes, with en lamb i in the f 
ground; she holds a palm branch. Behind her through | a win 
we see a continuation of the landscape of the other eee 


SS i a RNA: ON EL SANNA ROCA BRTT AAA wr aU 7 3 isn 


ner RL RR ER 


a aia 


SE RO CONSE SEE - 3 


ores toina nk sepa carne 


emcee ong 


No. 71—AMBROSIUS BENSON 


| No. 72 
PAOLO DI STEFANO 


FLORENTINE: ACTIVE 1450—1478 


+ 


THE MADONNA AND CHILD, WITH [AN | 
(Wood, arched at the top) 


= 6 ee 
om 450 sf eal Height, 57 inches; ie i 


Tue Virgin, her head framed in with her ark blue hood, is. 
on a broad cushion and presses to her breast the Infant ( 
He stands on her left knee, His robe having a scalloped 
and being confined at the waist by a girdle. He holds a | 
His left hand, as He looks up earnestly into the eyes of 
mother and inserts His right hand in the upper part of her rc 
Angels hold the crown in the sky... ‘The Ngwe are aac 
the background is of gold. 


Evhibited in the Loan Exhibition of Italian Primitives, N ew -Y ork, N 
1917, Catalogue No. 17. 


Formerly in the Davanzati Palace, Florence. . . =f 


“Paolo di Stefano’s name is known from a large fresco painting now 
the cloister of St. Apollonia in Florence; Cavalcaselle has also, with 
reason, attributed to him a large picture in the Pisa Gallery, and a 
in San Miniato al Monte, outside Florence. Particularly characteris 
the painter are the large floating angels with outstretched arms, who 
Madonna picture are holding a crown over the Virgin’s head, and : "i 
fresco are catching the blood of Christ in golden chalices.” (Catalogue of 
above Loan Exhibition.) ae 


No. 72—PAOLO DI STEFANO 


| Noi.73 sea 


CENTHAL ITALIAN ECA CIIVE 1495—1518 Ris “ye -. a 


ST. LUCY — te a 
~ (Wood, the top of the panel cut away at the corners) 


6 , 
19 d 16, e. Height, 73 inches: wig Tr) 29 inch ie 


FuLu Toners standing on a texrace ih-trone 6 

walls of a castle. In a richly brocaded oe bo | 
pearls, and a dark red mantle lined with blue. Her hair f 
profusion onto her shoulders. In her raised right hand 
holds a dagger ; in her left is a dish, in which float her eyes. — 
angels on small clouds hold the crown of martyrdom above 
head. Gold background. 


From the collection of George G. Barnard, New York. 


Exhibited in the Loan Exhibition of I Baa Primitives, New York, 
1917, Catalogue No. 96. 


“This picture may be compared a the large altar prere in the 
Gallery, dated 1499, in which exactly the same facial type and the 
sculpturesque treatment of the folds are again found.” (Catalogue o. 
above Loan Exhibition.) . 


No. 73—ZAGANELLI DA COTIGNOLA 


SIMONE DE CUSIGHE 


VENETIAN: Active 1380—1410 


ST. ANTHONY ABBOT AND 


OTHER SAINTS, ENTHRONED 


ie 3 J itis (Wood, heightened in he f, barlae 
Height, 241%, inches; length, 75 ine] 


ENTHRONED in the center of the wide and ee, setting St... 


Anthony Abbot holds his bell in his. right hand and a crozier in 
his left. On the extreme left, and equally detached from the 
other Saints, is St. Jovita, who stands on a spiked wheel. Between 
that and the principal figure is St. Gottardo, in full ecclesiastical 


robes. On the right is St. Bartholomew, with his knife; and, in 


another panel, on the extreme right is St. Anthony of Padua, 
holding a heart in his right hand. 
Crowe and Cavalcaselle (History of Painting in North Italy, Vol. II, p. 59) 


mention five pictures by Simone as being then in the Casa Pagani at 
Belluno, one of them the picture here on exhibition. 


[Continued on the following page 


oe sb Soe hy oe 
w York, November, — 


No. 75 ‘ss 
SALVATORE ROSA — 


Irarsan: 1615—1673 


_DIOGENES IN SEARCH OF ANG 


(Canvas 
Height, 4314 inches; width, 331, ceche BS 
of 9g ae} 


Lire-sizE, three-quarter-length figures. The bea 
in a yellow robe and red mantle, holds in his up. 
lantern, which has a lighted candle in it. A wo 
and a man and a woman on the right jeer and w 
cal buildings in the background. ; 


From the collection of Edward Knight, Esq. 


Engraved by William Sharp, 1780, when the paintings ‘was in 
Edward Knight, Esq. 


é ey 
The engraving accompanies the painting. (i a 


No. 75—SALVATORE ROSA 


No. 76 


“JUSTUS ea 


FLEeMISH: TO 


FERDINAND Il DE’ MEDICI a 


. ny Veni 
; cures eat Fe t x price aes 
Jue 5G A Height, 6446 inches; wi ABS inches 2 | 


Fuut length, three-quarters to the left. As a young Bice . 
man in damascened armor; brocaded trunk-hose and white 


hose; white lace ruff and cuffs ; eee sword. His - 


Tiled foreground. 


From the collection of Mr. Jules Porgeés, Paris. 


Evhibited at the “Exposition de Bagatelle,” Paris, 1911, No. 149, 
Described in the “Revue de Belgique,” August, 1910, p. 314. 
Described in “Burlington Magazine,’ July, 1911. 


RMANS 


‘STE 


L 


JUSTUS S 


No.- 76 


No. 7 
LEANDRO BAS SANO- 


VENETIAN: 15591622 


(Canvas) se! 3 


Height, 68 i inches; width, 53 inches 


Tur Doge has a long, gray beard and blue eyes. 
three-quarters length, and is turned three-quarters to 


Habited in the full robes of his office, he wears a ric 
mantle of gold and lemon- toned damask, decorated Bu 


Born in 1419, he was Podesta: of Verona and pans and Procurator 0 
San Marco before bowing himself onto the ducal throne as seventy-four 
Doge of Venice in 1486, at the age of 66. One of the most. _important 
events in his dogado was his official reception of Beatrice d’Este. His: por-- 
trait is seen in the altarpiece of the “Madonna, with St. Agostino and St 
Marco with Angels,” in the Church of St. Pietro Martire at Murano, es i Fs 


Formerly in the collection of the Gradenee family, one of the most ancient ; 
in the Veneto and one which gave two Doges to the republic. Rise ae 
in the possession of Antonio Gradenigo circa 1860. ; 


The attribution as well as the identity of the Doge was aatecasbed by ia ay 
Mr. Berenson on the basis of the portrait, bearing the name of Gentile Bellini, a 
in the collection of the Rt. Hon. Lewis Harcourt, at Nuneham, near Onyord, ae 


Exhibited in the Loan Evhibition of Italian Primitives, New York, N: Ryd *, 
1917, Catalogue No. 101. 


2 aa 


No. 


ViI—LEANDRO BASSANO 


No. 78 


DARIO DI GIOVANNI 


MESS: ACTIVE IASI 


ST’. BERNARDINO )F SIENA 
oe ae | ee Seer 
he oie) Height, 71 inches; 


Furt-Lenctu figure of the Saint, in a Franciscan habit, and 
girdle, standing toward the right and wearing sandals. A red- 
bound book is in his right hand. In his left he holds the circular ‘y 
tablet, with the Sacred Monogram carved within it. The mitre 4 3 
by his left side and the two by his right recall that the bishoprics 
of Siena, Ferrara and Urbino were offered to him in vain. His | 
name is inscribed across the panel. 


Bes 
Exhibited in the Loan Exhibition of Italian Primitives, New York, N vcember, 3 
1917, Catalogue No. 92. an 


“This characteristic, and decorative, figure of St. Bernardino is evidently 
the work of a painter who very strongly felt the influence of the Paduan 
School about the middle of the fifteenth century. The hard-and minute s . 
drawings both of the plants and the figure, and the relief work in the deco-) "ame 
rative details prove the painter’s connection with the art of Squarcione and 
Crivelli. The same peculiarities and morphological details may be observed | 
in Dario di Giovanni’s signed altarpiece in the Museo Civico at Bassano, FS 
representing the Virgin of Mercy between the Baptist and St. Bernardino; — . 
particularly, the very characteristic feet and hands prove the identity of the 7) | 
master. Dario di Giovanni, called in contemporary documents “Pictor Vaga- 
bundus,” worked in the Romagna as well in the Veneto (Asolo, Treviso, 
Conegliano); his art is a typical product of the Veneto-Romagnolo current, — 
about the middle of the fifteenth century,” (Catalogue of the above Loan 
Exhibition.) a 


NI 


No. 78—DARIO DI GIOVAN 


No. 79 


JAN VICTOORS 


Dutrcu: 1620—1672 


JOSEPH TELLING HIS DREAMS 


SO lee (Canyas a7 ~ VASA 


Height, 67 inches; width, 65 inches 


Tue boy Joseph stands on the left near the fireplace; he wears 
a brocaded robe of golden texture, with a girdle, and a dark blue 
flat cap. With emphatic gestures he tells his dreams. His 


[Continued on the following page 


mother is seated on a low stool in the left foreground, and listens 
attentively. Standing on the far side of the table in the left 
background are three of his brethren near a small window. His 
aged father, bearded, turbaned and wearing a loose red robe is 
seated in the center and turned towards the left. Behind him is 
a man in profile in the same direction. Another group are in the 
right background, while in front a young woman kneels by a fire 
as she stirs a bowl of soup. 


Signed on the left, below, “J. Vicroors, vr. 1651.” 


From the collection of Catholina Lambert, Catalogue No. 359, in the sale of 
which the painting was attributed to Rembrandt. 


After the removal of the over-painting, the full signature of Victoors, 
together with the date, came to light. Then also were revealed the groups 
of figures in the left and right background, in a perfect state of preservation. 


‘= Et i air fa: oman 
- a : '. ei | ¥ 


Ian 80 
CARRENO DE MI 


proudly out at the beholder. In black velvet cc 
cloak, a broad white collar and cuffs and black s 

dark hair. In his right hand he holds his black 
he holds a sheet of ae which is an ins . 
“Al ., = Potent . > .Venezsta sayents sidenen 
table saith yellow, gold- femeet cloth. His massive figure « 
strong shadow. Floor and background of neutral tone. 


Inscribed on the right: “IO” (ie. Pea 


From the collection of the late Count Nelidof, Ambassador ees 
Paris. EP ages, 


No. 80—CARRENO DE MIRANDA 


No. 81 
SCHOOL OF GIOTTO 


Iranian: 1266—1887 


POPE URBAN IP, AND 
ae ; | (Panel) 
iSO ne Height, 60 inches; widt) 


Tue enthroned Pontiff in puce- -toned robe, and full red 
edged with gold, and wearing his triple tiara, blesses in h 

manner with the fingers of the right hand. On the gold le 
ground, in cartels, are the words “Papa” and “Urba.” In 
left foreground is the small kneeling figure of a blue-rok ed don 
his wife, somewhat similarly attired, kneels and faces. him. 


From the collection of Rev. Dr. Robert J. Nevin, Pastor of the A 
Church at Rome. ; ay 


From the collection of Mrs. Robert H. Sayre, South h Bethlehem, Pa, 
latter’s sister. ey, - 


631 inches | 


No. 81I—SCHOOL OF GIOTTO 


eV: a zit . , 
ISTS REPRESENTED 
THEIR WORKS 


rn nes 


= 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


CATALOGUE 
NUMBER 
AMBERGER, Curistoru 
Portrait of a Young Man 49 
ANTONIAZZO ROMANO 
The Madonna and Child 34 


BALDESE, Ameroeio pri 


_ The Madonna and Child, with Saints 10 
The Madonna and Child, with Saints and Angels 11 


BARTOLOMMEO DI GIOVANNI (“Artunno pi Domenico”) 
A Saint 27 


BASSANO, Lreanpro 


Portrait of Agostino Barbarigo 10 
BELLE, Atexis Smvon 

Portrait of a Daughter of Louis XV 68 
BENSON, Amprosius 

The Virgin Enthroned, surrounded by Angels and 

St. Catherine and St. Agnes (4 Triptych) 71 

BICCI, Neri pi 

The Virgin and Child rf 


BOILLY, Louis Létoro.ip 
General, the Marquis de Lafayette 66 


~ BOL, Ferpinanp 


Portrait of a Lady, as Diana 


BOLOGNA, SIMONE DA 
The Coronation of the Virgin 


The Crucifixion, with Saints and Angels , ’ fs is 


BONSI DA FIRENZE, Giovanni 
The Madonna and Child, with Saints 


BOSCH, Jrrome 7 
The Legend of St. Christopher 


~BREKELENKAM, Quiryn 
The Tailor’s Shop 


BRONZINO, AncExo 
Portrait of a Young Lady 


BRUEGHEL THE YOUNGER, Pirerer 
A Betrothal Festivity 


BRUYN THE ELDER, Barrnuotomaus pE 
Portrait of a Man 


BURGOS, Juan ve (Attributed to) 
St. Blaise 


CARRENO DE MIRANDA 
Portrait of the Artist 


CIONE, Jacorvo pt 
The Coronation of the Virgin 


CIONE, Narpo p1 
The Crucifixion 


CATALOGUE 

: NUMBER 

CIVERCHIO, Vincenzo (Attributed to) 
The Nativity 3 


CLOUET, Francois (Attributed to) 
Portrait of a Young Lady 5 


CRANACH THE ELDER, Lucas 
Salome ; 43 


CUSIGHE, Simone dE 
St. Anthony Abbot and Other Saints, Enthroned 74 


DARIO DI GIOVANNI 
St. Bernardino of Siena 78 


DIETRICH, Curist1an Wn. Ernst 
Portrait of a Banker 1 


DOU, Gerarp 
Christ among the Doctors 61 


FLEMISH PRIMITIVE (Two Wings) 
The Nativity and the Virgin at Prayer 4 


GIAMPETRINO (Pierro Riccr) 
Bust of a Woman 36 


GIOVANNI DAL PONTE 


St. James and St. John; The Resurrection, and 
Christ on the Cross (Two Wings of an Altar- 
piece) 64 


HEERE, Lucas per 
Portrait of Dorothy, Lady Chandos 62 


aa te Nh ase ky 03 as 


Shane of Bt a 
Aas aie oe if : 


HOPPNER, Joun, R.A. 
Portrait of Miss Esther Raine 


HOOGH, Pierer pe 
A Lady and Gentleman at Tea 


IL SALVIATI (Francesco DEI Rosst) 
Portrait of a Man 


+ 


KOFFERMANS, Marce.uus 
Christ on the Cross 


LOTTO, Lorenzo 
Portrait of a Young Man 


LUCAS, Evcenio 


Spanish Dancers 


MASTER OF FRANKFORT. (THE) 
The Virgin and Child, with St. Catherine and St. 


Barbara 


MASTER OF ST. SEVERIN (Tue) 


The Virgin and Child, with St. Cathetate and St. 
Mary Magdalen 


MASTER OF THE DEATH OF MARY (CT ae)s joni 
witH Joos Van CLeveE THE ELpER eee a 
Portrait of Quentin Matsys 56 | Pe 


MAZO, Juan B. vdEL | ee 
Portrait of the Infanta Margarita Maria, of Spain 65 : a 


MAZZUOLA, Fitipro 


The Madonna and Child, with St. John and St. _ 
Catharine 20 


CATALOGUE 


: NUMBER 
MEYER, Henprik pE 
A River Scene, at Dordrecht, with Shipping and. 
Figures 24 
MOLENAER, Jan Mienst 
An Interior, with Figures 23 
MONACO, Lorenzo (Attributed to) 
Madonna and Child, with Saints and Angels 6 
NARDO, Manriorro pi 
The Virgin and Child, with Saints 18 
NUZI, Avecretro 
Christ on the Cross | 41 
The Martyrdom of St. Stephen 50 
The Martyrdom of St. Uursula and her Attendant 
Virgins 50a 
PAOLO DI STEFANO 
‘The Madonna and Child, with Angels 12 
PATINIR, Joacuimm D. 
St. Jerome 52 
PENNI, Gianrrancesco 
Portrait of a Roman Lady 32 
POURBUS THE YOUNGER, Pierer . 
Portrait of a Young Man 15 
REYNOLDS, Sim Josuva, P.R.A. 
Portrait of the Artist 54 


ROSA, Satvatore 
Diogenes in Search of an Honest Man 15 


RUBENS, Perer Pavr 
Minerva and Thetis 


SANO DI PIETRO 
The Madonna and Child with Saints 
Madonna and Child 


SCHOOL OF GIOTTO 
Pope Urban IV, and Donors 


SCHOOL OF MASACCIO 


The Baptism of Christ 


SCHOOL OF PALERMO 
Dormition of Mary 


SICILIAN PAINTER 


The Annunciation 


STROZZI, Zanost er 
The Descent from the Cross 


me 


SUSTERMANS, Justus 
Ferdinand II de’ Medici 


TADDEO DI BARTOLO 
A Dominican Legend 


TIEPOLO, Giampattista 
La Beata Ludvina 8 

The Last Judgment (Sketch for a Ceiling Paint- a 

ing) 38 


TIEPOLO, Giovanni Domenico 


Head of an Oriental 
Head of a Young Man 


TOCQUE, Lours 
Portrait of a Lady 


VICTOORS, Jan 
Joseph Telling his Dreams 


VOS, CorneELIS DE 


Portrait of a Gentleman and his Son 
Portrait of a Lady and her Daughter 


VAN GOYEN, Jan 
A Dutch Canal with Fishermen 


VAN LEYDEN, Lvcas _ 
The Adoration of the Shepherds 


VAN RUISDAEL, Jacos 
Landscape—Waterfalls 


VAN SCOREL, Jan 
Madonna and Child 


ZAGANELLI DA COTIGNOLA 
St. Lucy 


CATALOGUE 
NUMBER 
39 


40 


67 


45 


14 


60 


42 


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